The White Shaman Mural: An Enduring Creation Narrative in the Rock Art of the Lower Pecos, University of Texas Press, Austin.īrody, J. Rock Art of the Lower Pecos, Texas A&M University Press, College Station.īoyd, C.
Journal of Arizona Archaeology 1: 89–101.īoyd, C. Reconstructing the sacred in Hohokam archaeology: Cosmology, mythology, and ritual. Landscape of the Spirits: Hohokam Rock Art at South Mountain Park, University of Arizona Press, Tucson.īostwick, T. Clark Company, Cleveland, OH.īostwick, T. J., Pioneer Missionary Explorer, Cartographer, and Ranchman, 1683–1711, Vol. Kino’s Historical Memoir of Pimería Alta: A Contemporary Account of the Beginnings of California, Sonora, and Arizona, by Father Eúsebio Kino, S. 200, Arizona State Museum, University of Arizona, Tucson.īolton, H.
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Hopi History in Stone: The Tutuveni Petroglyph Site, Archaeological Series No. Ritual: Perspectives and Dimensions, Oxford University Press, Oxford.īernardini, W. (ed.), El norte de México y el sur de Estados Unidos: Tercera reunión de mesa redonda sobre problemas antropológicos de México y Centro América, Sociedad Mexicana de Antropología, Mexico City, pp. Relations between Meso America and the Southwest. Journal of Field Archaeology 23: 403–420.īeals, R. Shell ornament consumption in a Classic Hohokam platform mound community center. Journal of Texas Archaeology and History 2: 45–57.īayman, J. A black deer at Black Cave: New pictograph radiocarbon date for the Lower Pecos, Texas. 4, University Press, Cambridge, MA.īates, L. Final Report of Investigations among the Indians of the Southwestern United States, Carried on Mainly in the Years 1880 to 1885, Part 2, Papers of the Archaeological Institute of America, American Series No. In Fifth Annual Report of the Executive Committee of the Archaeological Institute of America, University Press, Cambridge, MA, pp. Bandelier on his investigations in New Mexico during the years 1883–1884. Hohokam murals at the Clan House, Casa Grande Ruins National Monument. (eds.), Proceedings of the Second Salado Conference, Globe, Arizona, 1992, Arizona Archaeological Society, Phoenix, pp. Exploring the production and social significance of Salado polychrome at central Phoenix Basin Hohokam sites. Rather than representing a new religion, I suggest Hohokam artisans materialized these long-established and unquestioned principles in novel iconographic ways as a means of naturalizing and ordaining the rapid social change that accompanied the religious revitalization movement.Ībbott, D. I show that the iconography references Archaic religious archetypes and cosmological principles that probably accompanied the spread of agriculture millennia before the formation of the Hohokam world. However, while the iconography may have been new to Hohokam media, the religious themes were not. From a careful consideration of the inception and breadth of each, I argue that Hohokam artisans began to portray these subjects in concert with a religious revitalization movement that drew a degree of inspiration from the south. I focus on three iconographic subjects in Hohokam media-serpents, flowers, and “pipettes”-each of which materializes seemingly Mesoamerican religious concepts. In this paper, I examine this connectivity through the lens of iconography to show that shared religious themes and archetypes were strands within the nexus. Researchers commonly frame this connectivity in economic or cultural evolutionary terms that position Hohokam communities as somehow descendant from or dependent on more complexly and hierarchically organized societies far to the south. A degree of cultural connectivity between the Southwest and Mesoamerica is evident in similarities in public architecture, ceramic technology and design, ritual paraphernalia, and subsistence, among other qualities. Archaeologists have long compared the Hohokam world of the North American Southwest to contemporary traditions in Mesoamerica and West Mexico.
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